Showing posts with label mike hoyer. Show all posts
Showing posts with label mike hoyer. Show all posts

Saturday, October 21, 2017

I Remember 1970


In 1970 I was fifteen and carving out my own, independent life. Things had been bad at home for about four years, and I was frankly tired of it -- tired of being mired in the constant physical and verbal battles between my mom and dad. Too, by fifteen I'd acquired the best thing that ever happened in my life -- my own room. My mom and dad owned a motel, which was the thing that started our lives on the unremitting slide off a slippery cliff. On the plus side, a motel in the sixties meant a ready supply of unoccupied rooms; a fact that I seized upon in order to whine and cajole my mom into finally giving in and agreeing to let me move out of the closet-sized room I shared with my little brother and sister and the bunk bed shoved up against the wall, and into Room Number One, which was a bit further than hollering distance away from our tiny "living quarters" behind the sliding door of the motel office.

My new living arrangements were sublime. I didn't eat, so I was able to avoid family dinners, if we actually had them. What I actually remember is my brother and sister being fed once we'd arrived home from school and my mom grazing throughout the evening. Dad wasn't around. He was busy working on his hobby -- getting drunk out of his skull and passing out anywhere he could find a safe place to land.

I had a best friend and hobbies of my own -- music! And smoking. I'd learned how to chord on a guitar a few years before and by now I was pretty proficient at the basics -- A, D, G, E, and sometimes B (if needed). The callouses on my fingertips were well-developed. If there was such a thing as tuners back then, I was unaware of them. I'd bought a '45 record Buck Owens had issued (I think with one of his songbooks), "How To Tune Your Guitar". That record was my "guitar tuner".  I locked myself behind the locked and chained door of my room and listened to country records and strummed along with them...and sang. Nobody could hear me anyway, so what the heck? I became pretty good at singing harmony, as long as I had the record to prompt me.

I'd latched onto country music because Alice (my best friend) was a die-hard country fan who was also the featured vocalist in a local country band. By 1970 rock was a faint memory and I knew all the top country artists and had developed my own tastes, rather than simply mimicking what Alice liked. I'd discovered all-night country radio, WHO in Des Moines, Iowa, with DJ Mike Hoyer. WHO had the strongest signal. I loved Bill Mack from WBAP, too, but a Fort Worth signal was only audible in the wee small hours. Ralph Emery? Forget it. The night had to be crystal clear and the moon full before I could ever get WSM to be more than a crackle on my radio. Mike Hoyer was my guy. He also played full albums, around two in the morning. (Yea, in the summer, I stayed up and waited for them).

In 1970 we country fans were still worshiping the old guard. It would take about three years before new acts would arrive on the scene and take over. Country music moved at a slow pace.

Don't get me wrong; the old guard was excellent -- Merle, Ray Price,Tammy, Marty. If one was to name the greatest country artists of all time, these four would make the top five...or at least top ten. Merle was hitting his stride in 1970, becoming recognized as a musical phenomenon. If one were to scan his career, however, Merle's best recordings came before '70. The same with Ray and Tammy and Marty Robbins. They were all "mid-career" by that time. But there were other artists, too.

David Houston first hit it big with a song that in 1967 made me cringe. I was twelve and at that awkward stage at which my dad had the car radio tuned to country music and I was held hostage if I ever needed him to traverse me anywhere. David Houston sang about being "almost persuaded" and I knew it was kind of dirty, but I wasn't sure why. Hearing a song about s-e-x at age twelve with your dad in the car is the ultimate nightmare. Nevertheless, David Houston went on to record several tracks that became hits, and by fifteen, I was okay with the story lines.

David Houston lived a short life. He suffered an aneurysm in 1993 and passed away. He was a huge star in the late sixties/early seventies, an artist who would have continued to carry on.

Here is his 1970 hit (very few live performance videos exist of David, mainly those in which he performed duets with Barbara Mandrell, so appreciate this for its music):



And then, of course, there was Merle:


My memories of Ray Price will always be tied up with my dad. There was a time when my dad was my hero, back before the "bad things" happened. Childhood memories are like a hand print on one's brain. They're stamped there for perpetuity. "My" Ray Price was a singer of three-part harmony songs and twin fiddles. The Ray of 1970 was a sort of a betrayal. 

I didn't like this song. I do now. I like it "sort of". It's a Kris Kristofferson song. Kris Kristofferson, at one time, was the most prodigious songwriter in country music. He's no Merle, but he's different. Kris said things that nobody else said in quite the same way. If I was to emulate anyone, as an amateur songwriter, Kris would be the one.

For The Good Times:



Charley Pride is an artist who appeared seemingly out of nowhere. I first became aware of him in 1967 (?) with "Just Between You and Me", which is one of the most excellent country songs ever written. He was just a guy on the radio who sang good songs. By the time Alice and I attended the immortal Merle Haggard concert in 1968, we'd learned that Charley was Black, so we weren't shell shocked when he took the stage as Merle's opening act. Granted, it was odd for a Black man to sing country music, but if he was country, we were okay with that. 

By 1970 we'd settled into a state of comfort with Charley. The production values on his recordings could have used some improvement, but he was still recording good songs:


Johnny Cash had a network TV show on ABC, and Alice and I watched it with religious fervor. I wasn't even a Johnny Cash fan. I was more fascinated by the Statlers. who sang harmony and by Carl Perkins who, by then, was relegated to a backup player in Cash's band. The most memorable thing I remember from Johnny's show was a song called, "I Was There" that featured the Carter Sisters and the Statler Brothers; a gospel song that those in the know label "call and response".

"Sunday Morning Coming Down" was yet another Kristofferson song. I was in my second year of Spanish, so I actually translated this song into the Spanish language as an exercise. I can't listen to this song without hearing, "no fue mal". 


I love Marty Robbins. The first concert I ever attended, when I was five, was a Marty Robbins concert. My mom took me. I have no recollection of how that came to be. I didn't even know my mom liked music. I'm guessing the concert venue was the Grand Forks Armory. I have a vague memory, like a dream, of Marty strumming a teeny guitar. That's all I remember, except for after the show, when Mom tried to cajole me to go up and get Marty's autograph. I was mortified at the prospect and I flatly refused. I note that she didn't get an autograph, either.

I got the opportunity to see Marty again, sometime around 1980, this time in Duluth, Minnesota. We were on vacation, with -- what do you know? -- Mom and Dad. I also had two tiny boys by that time. Not as tiny as the guitar Marty liked to play, however. By then, I wouldn't have been too embarrassed to get Marty's autograph. I would have been sort of embarrassed, but I still would have done it, had we not been perched in the nosebleed section of the auditorium. By the time all of us made our way down to the floor, Marty was no doubt back on the bus, zooming down I35 on his way to the next stop on his tour schedule.

Marty Robbins was a helluva entertainer. I, as a rule, don't like a lot of goofing around by the artist I've paid dollars to see. But Marty was funny. Not in a "canned jokes" kind of way, but in the way he interacted with his audience. He was one of the few artists I've seen (and I've seen many) who seemed to actually enjoy performing. Most of those I've seen treat a live performance like a paycheck they're begrudgingly obliged to dance for. (Randy Travis is an exception to that rule.)

This is, by far, not one of my favorite Marty Robbins songs, but heck...it's Marty:


On the other hand, there are a handful of artists I never connected with. I never could quite figure out Conway Twitty. The blue-haired ladies loved Conway. Of course, they also loved Elvis. Maybe when I'm eighty I will grow an appreciation for Conway Twitty. I'm keeping an open mind. I can't put my finger on what it was -- he did have some good songs. And his early recordings with Loretta Lynn were damn good. 

I attended a concert in my hometown around 1992 - 1993. It was a three-fer:  Vince Gill was the main act, for me at least. Also on the bill was George Jones. And then there was Conway. I'd seen George Jones and Tammy Wynette in 1968 when they were still flirting and hadn't yet left their respective spouses. Strangely, Tammy's then-husband played backup for her on that show. Well, it was country music...

So, after Vince did his set and George did his, I decided it was time to leave. I didn't stay to see Conway. Shortly thereafter, Conway died. I kind of regretted I hadn't hung around long enough to see him perform. I felt a tiny bit guilty, disrespectful.

Conway (nee Harold Jenkins) had his biggest, bestest, hit in 1970. This song defined his career:


Speaking of career-defining songs, I guess 1970 was the year for that. I could recount my attendance at a Loretta Lynn concert...okay, I will.

I was, I will guess, nine years old. My sister was getting married. She'd moved to Fort Worth, Texas, to be near her fiance, who was a Texan. Dad, Mom, my little brother and little sister and I had taken the long car trip from Minnesota to Texas in our trusty Ford Galaxie, the car Dad was so proud of. Amidst all the wedding festivities, we all attended a concert at Panther Hall. Panther Hall was distinctly Texan. Long, long dining tables, where one was seated next to complete strangers. The entree was steak. Just steak. One did not get a choice in the matter. It was steak. Waiters hovered about. Our waiter asked me what kind of dressing I wanted on my salad, and I said, "none". "No salad?" he asked. "No, no dressing.". Yes, I ate my lettuce plain. I did not like foods then. I might have liked toast. 

Panther Hall was "dry", or something. One had to bring in their own booze. The waiters would serve "mix", and patrons would mix their own drinks with the whiskey they'd brought in with them. 

The featured act was Loretta Lynn and her band. I hazily remember hearing, "You Ain't Woman Enough", but I frankly was too focused on my lettuce to pay much attention. Somebody in our party went up after the concert and got Loretta's autograph. I remarked, upon spying the signed photo that it looked like it said, "Buffalo Lynn". Loretta apparently did not have good handwriting. 

In 1970 Loretta released her autobiographical single. I had some issues with the song, such as how she sang "borned" instead of "born". Additionally, the song was rather tedious. It was essentially a recitation of everything that had happened to her in her life, with no chorus. Also, she sang that at night they'd sleep cuz they were "tarred". Regardless, eventually a movie was made of the song and the book that followed, which began my longstanding infatuation with Tommy Lee Jones.

Coal Miner's Daughter:


These songs were not number one hits, but they bear mentioning, because, well, I like these guys...

Jerry Lee Lewis:


Buck Owens and Susan Raye:


Sorry, no live video, but I really, really liked this song...

Del Reeves and Penny DeHaven:


Here's David Houston with Barbara Mandrell, before Barbara became the precursor to Reba McEntire in the desperate claw to become relevant in the world of pop. Barbara Mandrell was so cute then. I wanted to be her:


No one should doubt how iconic and influential this duo was in the late sixties/early seventies. They were the golden fleece all duos yearned to snatch.

Porter and Dolly:



The first time I heard this next song on the radio, on a staticky signal out of Iowa, I fell in love. It was the perfect country song, sung by the best country singer in the world. I didn't know Tom T. Hall had written it, and I was surprised. Tom T. was the Harper Valley PTA guy, the guy who never felt a chorus was necessary to a song. I really, really loved Faron Young, but he was a troubled soul. I talked my dad into driving us up to the State Fair to see Faron in person, and I felt ashamed I'd forced him to make the trip. Faron was possibly drunk; or if not drunk, simply a bad performer. The concert was disillusioning. I didn't know then that Faron had problems and that it took him a while to get a good recording. I only knew the records themselves. I still love him, though. I don't care how many takes he had to do to get it right. I only care that I am in love with Faron's songs.

Sorry (or maybe not sorry) that there is no live performance video of this track:




This post has gone on forever, and it could go on for miles more, because 1970 is perpetually stamped on my brain.

I will end with this....

Lynn Anderson showed up on my adolescent radar by way of Lawrence Welk. My folks watched that ABC show religiously. I was beguiled by Lawrence's accordion player, who I thought was in the navy, because the V that crossed his chest looked like a navy uniform. I hadn't yet begun my accordion lessons, so I apparently thought Myron Floren somehow balanced that behemoth instrument between his hands; an unsuspecting strongman. (Yup, the V was the accordion straps, I, a short while later learned.)

Lynn was from North Dakota -- Grand Forks, to be exact -- just like me! In truth, she was born in North Dakota, but raised in California. However, that minuscule connection convinced Lawrence to hire her for his show. Lynn possessed the sweet voice of an angel. Truly. I loved Lynn's voice. Unlike the country fan latecomers, I knew Lynn Anderson before she moved to Columbia, when she was but a wannabe star contracted to Chart Records. 

To me, the move to Columbia spelled the downfall of her career, but of course, others would say, what in the world are you talking about? She had her biggest, career-defining hit at Columbia!

Yea, she did; that's true. But tell me; how many times are you willing to listen to this song?

Nevertheless, it was the giant song of 1970. Thank you, Joe South. I guess.

Lynn Anderson:




I'm guessing this has been the longest post I've ever written. I have lots to share about 1970. It was kind of a watershed year for me in many ways; ways I don't necessarily like to recall.

I gave the year short shrift, though. It was pretty awesome -- at least in the annals of country music.
















Saturday, May 6, 2017

Best Country Albums - Part 2


Since my last post, I've thought about other "Best" albums and wondered if there were any from an era other than the nineteen eighties. I've determined that eras are rather unfair. After all, as I've noted before, country albums were once simply a collection of one or two hit tracks combined with cover songs. I don't know if producers were lazy or they suffered from "we've always done it this way" disease. Most likely it was because country fans bought singles and albums were an afterthought -- a  way to put a pretty cover (in the case of female artists) on the rack and convince shoppers to buy the ninety-eight-cent '45 of "I Don't Wanna Play House". I bought a lot of Greatest Hits albums way back when, because other LP's were disappointing. A few artists pushed back -- mostly artists from Bakersfield. Some Nashville acts, too, transcended the status quo. Not many.

I've thought about how I even knew that certain albums existed at the time, and I realize it was because of WHO radio and Mike Hoyer. Mike was the overnight DJ on WHO in Des Moines, Iowa; and around two a.m. he'd slap an album on his turntable and play it all the way through. Touring acts would also show up in Mike's studio and perform songs live. In the sixties, it was Mike Hoyer and Ralph Emery on WSM who were the keepers of the country flame. And Bill Mack on WBAP in Fort Worth. Those three. That's all. My radio signal rarely caught WSM and I'd lie awake until three a.m. to try to catch WBAP. WHO, though, always came through loud and clear. That's how I knew what was what with real country.

All that said, I've decided to isolate "best" albums by the times in which they were recorded.

The Sixties

Ten years in country music is a long-ass mile. A lot changed in the sixties. Are we talking 1961 and Jimmy Dean or 1969 and Conway and Loretta? The sixties should actually be divided into the almost fifties/early sixties and the Merle Haggard slash Dolly Parton era. Nevertheless, here are some albums that were most likely the "best" of that time.



Here's the only video I could find, but trust me, this album was a cornucopia of superb country (I mean "country") songs:







Burning Memories is definitely a "best". Ray Price's album is one of my very, very favorites. I'm guessing it was released in 1965, smack dab in the middle of the schizophrenic sounds that assaulted our tender ears. Ray's smooth tenor was a soothing balm. And yet it tore at our hearts. I can find no live performances of any of the awesome tracks from this album, but give this a listen:



There was a time when we cheered live albums. Why? Maybe because Nashville sucked the soul out of every song it deemed to record and live albums were real life.

This live album was real:


Merle did impersonations and Bonnie flubbed the lyrics to her song and Merle said, "that's all right".

Merle live:


In the fifties, Patsy Cline and Faron Young and some other country stars performed at Carnegie Hall. That was considered curious. Apparently New Yorkers were too snobbish to listen to country music. Most were and are. That concert was most likely viewed as a novelty; something for the sophisticates to giggle about the next day. I don't know that any live recording exists of that concert. I personally would have loved it -- but I'm from the Midwest, after all.

About ten years later Buck Owens took a chance and showed up at Carnegie Hall with his Buckaroos. It's impossible to understate the importance of Buck Owens to country music in the sixties. There were two competing factions -- the "Nashville Sound", watered down "listen to us -- we're really not country!" and Bakersfield. Bakersfield won. One could argue that if not for Buck Owens, there wouldn't have been a Merle Haggard. It's been posited that Buck stole his songs from unknown songwriters. I don't know the truth. Regardless, Buck Owens' claim to fame is that he created a "sound". Crunchy telecasters, drums not buried; not muffled. Drums keeping the beat as they should, for the two-stepping couples in the honky tonks. Heavy on the steel, thank you. Alcohol and tears go hand in hand, and nothing cries like a steel guitar.

Here is "the sound", from the Carnegie Hall album:


Before I finish out the best of the sixties, here is one album that I would consider a "best".

Lynn Anderson, before she scooted on over to Columbia Records, recorded on a little-known label called Chart. One could argue that the move to Columbia was the best thing that ever happened to Lynn. After all, that's the label on which she recorded Rose Garden. I would postulate that in the move Lynn lost her soul. In the sixties I wished I could sing like Lynn Anderson. She sang like an angel. Her new husband, Glenn Sutton, may have been chart-savvy, but he never brought out the best in Lynn's voice. 

This was her best:



Here is a sampling:




The Seventies

I seriously thought this was a sixties album. Well, it was on the cusp, released in 1970. Country duos began seriously with Porter Wagoner and Dolly Parton. They set off a whole seventies trend -- Conway and Loretta, Mel Tillis and Sherry Bryce, Hank Williams, Jr. and Lois Johnson. Suddenly duets were hot.

This duet album was the best:



This album had so many good songs, it's difficult to pick just one. YouTube has made it easy for me, however. There are only a couple of videos available. Here is one:


Ronnie Milsap was a product of the seventies, and he was huge. I saw Ronnie in concert with a couple of other artists I don't remember. That's how he dominated. Take a great singer, add some great country songs, stir in some piano and a whole lot of soul, and you have Ronnie Milsap.







Gary Stewart entered the country scene like a tornado. Who was this guy, and where did he come from? Suddenly he was just there. New country artists were rare. Country music was a continuum. George Jones had "The Race Is On" and then he morphed to "A Good Year for the Roses". Faron Young could never do better than "Hello Walls" and then he found a new producer at Mercury Records and soared, with songs like "Wine Me Up". But they'd always been there. I only vaguely remember the first recording by Merle Haggard, but it seemed he'd always been around. In the seventies new artists, brand-spankin' new, just showed up. All I had available to me was my radio. There was no YouTube or Pandora. Country TV was Hee Haw, if we could stand it. No Nashville Now. No CMT. 

And suddenly there was this guy:


Gary Stewart's story is a sad one. I prefer to remember his music:


Things that should not be forgotten are. It took a guy from New Jersey to remind Nashville what country music was all about. I was so parched for good music in the seventies, it was a revelation to find someone good. Really good. Eddie Rabbitt, like Gary Stewart, died young. But damn! We should not forget either of them. And Eddie? Well, if you love a rainy night or you're driving your life away, thank him.



Rocky Mountain Music was far above anything any country artist released in that seventieth decade.


And there you have it -- the sixties and seventies "best", wrapped up in one lonely blog post.  

I liked seeing Eddie and Gary and Porter and Ray again. Old friends. 

I miss them.




Friday, April 6, 2012

Yet More Great Country Artists from the Seventies ~ Faron Young


I don't know how I talked my dad into driving 100 miles to the State Fair to see Faron Young in concert.

At the age of fifteen or sixteen, I was barely even talking to my parents.  I was a sullen teenager with a giant chip on my shoulder.  I don't clearly remember those years, but I do remember being perpetually mad at my mom and dad for something they did, or something they didn't do, or just because.  They needn't have taken it personally, though.  I was mad at everything, including myself. 

Teenaged girls are the worst.  Maybe it's all those hormones.  I have sons.  My sons were nothing compared to me at the same age.  I don't know how my parents refrained from killing me.  I remember a lot of slamming doors (by me).  That was always a favorite.  Those hollow wooden doors would make just the right "crack!", with a delicious echo.  They were the punctuation on a sentence that I never uttered.

It's not that my parents did anything to me.  They just were.  They were perfectly fine people.  Although unreasonable.  At least my mom.  At least to me.  Then. 

But I must have managed to utter a sentence, at least, to my dad, which most likely contained the words, "please, please!" in it, because, you see, Faron Young, at one time, was my very favorite singer.

I don't even know why my dad agreed to the whole scheme, because, while he was a music lover, he never expressed any particular love of Faron Young's music, nor did my mom.  My mom and dad liked whatever they heard on the radio.  They weren't buying records in those days.  They listened to the radio in the car.

I, however, had my component stereo system, purchased at JC Penney, with my own earnings.  I don't think it was cheap, either.  I think it cost about $100.00.  Bear in mind, I was fifteen-ish, and this was the early 1970's.  $100.00 was a lot of moolah to me.

My "sound system" had those detachable speakers, that I could separate within the room space, for maximum sound quality.  It had a turntable.  It had AM/FM radio.  I also had a reel-to-reel tape recorder that I'd bought earlier for, I'll say, about $40.00, so I was constantly recording stuff off the radio, too.

I listened to WHO from Des Moines, Iowa, with Mike Hoyer, "from coast to coast, border to border, and then some".  I sometimes listened to Ralph Emery on WSM out of Nashville, when I could actually get the signal.  I listened to Bill Mack out of Fort Worth, Texas.  WBAP.

And I heard a lot of songs I liked by Faron Young.

Faron had a storied history in the music business.  He started out in the 1950's, on Capitol Records.  He was best friends with Hank Williams.  Faron's stories are legendary in Nashville.

Willie talked him into "Hello Walls" one night at Tootsie's Orchid Lounge.  Faron thought it was corny.  He kidded Willie about "hello lamp, hello table", etc.  Willie and Faron, though, laughed all the way to the bank.  "Hello Walls" is likely the song that Faron will be remembered by.

By the late sixties, early seventies, Faron had moved on to Mercury Records.  He had a new producer, the renowned Jerry Kennedy.  And he had a bunch of great songs.

Do you know a bar band that hasn't done this song?



This song was written by Jeannie Seely:



Faron had been in a car accident shortly before he recorded this next song.  (Don't ask ~ okay, yea, there was drinking involved ~ there was always drinking involved with Faron Young).  He ended up with a lacerated tongue, and still had to go into the studio to record the song.  He joked about it later ~ saying that he sang the song like Sylvester the Cat.  And on the record, one can definitely hear him singing, "Thhep attthide".  But it's still great, regardleth:



There was a bit of Dean Martin in Faron.  And yet, his voice is unmistakably country.  I think a country voice is an intangible, but you know it when you hear it.  Faron was from Shreveport, Louisiana, after all.  It was hard to not sound country.   I don't think it was an affectation, and if it was, then everybody was copying Faron, considering he'd been around for a long while, but he sang his words much like Marty Robbins.  "To-noight" for "Tonight".  "Toime" for "time".



Faron also recorded a song by a young, unknown songwriter, named Kris Kristofferson.  Kris was sweeping floors, and writing songs, and getting nowhere.  People think Johnny Cash launched Kris's career.  I beg to differ:



Nobody, except Faron Young geeks, will remember "(I've Got) Precious Memories".  I, of course, am raising my hand, because, after all, that was the title of the album, and yes, I have it.  Some, however, may remember, "I Just Came To Get My Baby", mostly because George Strait covered it.  Yes, George Strait covered Faron Young.



I was not surprised to find that there is no performance video of my very, absolute favorite, Faron Young recording.   No, it wasn't a number one song.  It was a number four.  Maybe, I guess, other people didn't love it like I did, so that's why there is no YouTube performance video.

I remember the first time I heard the single.  Ralph Emery played it.  I swooned over it.  I just wanted to hear it again.  But, alas, this was AM radio.  It would come around again when it came around again.

Tom T. Hall wrote the song.  Tom ("no chorus") T. Hall.  For not writing a chorus, I think this was a damn good song.  Or, at least, it was, after Faron got hold of it:



Alas, my trip to the State Fair and to the Faron Young concert was sort of a letdown.

Faron, you see, was a drinker.  And I think (I'm conjecturing) that he was kind of bored.  So, his live performances were silly; a joke that nobody was in on.  He couldn't seem to get through a song without breaking out in the giggles.  That's all well and good, if you're Marty Robbins. I saw Marty Robbins in concert, and while he was semi-silly, he made sure to include the audience in the joke.  Faron didn't. 

So, I went home in the back seat of the car, sort of embarrassed that I'd cajoled my dad into driving all those miles; knowing that he and my mom were thinking, well, this was time well wasted.

I went back to my Faron records and to WSM radio, and to Bill Mack, and to Mike Hoyer.

I never held it against Faron.  I just chalked the whole concert up to a (slightly seamy) slice of life.

And, later, my dad became somewhat enamored of this song, which, aside from "Hello Walls", became Faron's biggest hit.  And, to be honest, I don't like it that much.  I can't tell you why (as the Eagles said).  Maybe I just like the "twin fiddles Faron"; not the "cheesy strings Faron".

But here is "Four In The Mornin'":



I'm not, however, going to just leave it here.

As I said, Faron started out in the nineteen fifties.  And he had some great records, even if I obviously heard them as oldies.

This is one that he re-recorded, thankfully, in the seventies, because I would have known nothing about it, if he hadn't.



If you're ever looking for a great country karaoke song, you could not go wrong with this next song.  Connie Smith recorded it, and that's good enough for me.  And it's a good song!



Much as my dad liked, "Four In The Mornin'", if we're going to nominate one song as Faron Young's best (or at least, "best known"), we have to choose this one, written by Willie:



Faron Young's life ended wrongfully.  He killed himself with a shotgun.  I understand he was in ill health.  But I also understand how the music industry tossed aside the legends, unless their name was Johnny Cash.

The Country Music Hall of Fame, in its benevolence, elected Faron to the Hall of Fame after he died.  Would that they had had the foresight to elect him while he was still around to accept.

I was visiting my mom during the CMA Awards that year.  We had the TV on, and my mom said to me, "I bet that makes you feel good, that Faron Young's been inducted into the Hall of Fame".  She actually remembered that the geeky teenager, the belligerent one, had once worshiped Faron Young.  My dad was, well, not gone, but his being was gone.  But my mom remembered.

I mumbled something about, "yes, he was a great artist", but I was mourning, and I couldn't bring myself to share that.

How could I put into words what Faron's music meant to me? 

Even now, today, when I watch these videos, I'm transformed.  It's a combination of a bunch of things.  My dad, driving those hundred miles, in his white Ford LTD, just to satisfy a geeky teenager's longing to see her idol.  A selfless act, for a daughter who was self-absorbed, self-centered; self-indulgent.

My dad, and Faron, somehow, are intertwined in my memory.

I leave the topic of the great artists of the nineteen seventies here.  I have no more to say about that.